E-mail
Print
The Boss is still out there
‘Magic’ is classic Springsteen
By Andrew Rooney
Bob Dylan and Neil Young always garner the accolades of hipsters and indie-bands, and with reason; however, Springsteen never does, despite the fact he more than deserves it
Bruce Springsteen, aka The Boss, along with a handful of others, is a true legend in the world of music. Asbury Park, that butt shot on the cover of “Born In The U.S.A,” his blue-collar mentality, his ability to sell out any venue in the world, his anthems, launching the career of Courtney Cox-and that dance, have all solidified Springsteen’s reputation as The Boss.
Despite being one of the most popular and best-selling musicians in the history of the world, Springsteen has never been given the credit he deserves in certain indie-circles. Bob Dylan and Neil Young always garner the accolades of hipsters and indie-bands, and with reason; however, Springsteen never does despite the fact he more than deserves it.
With The Killer’s latest release “Sam’s Town” all lead singer Brandon Flowers could talk about was how the album was so heavily influenced by Springsteen and with 1982’s “Nebraska,” Springsteen essentially invented what has come to be defined as lo-fi indie music.
With “Magic” Springsteen has created one of his best albums in decades. Seriously. No it is not “The River,” “Darkness on the Edge of Town” or “Nebraska,” but it is probably his best effort since the highly personal “Tunnel of Love.”
Since it is Springsteen that we are dealing with here, some things never change, but that is not always a bad thing. “Magic” contains the classic Springsteen-esque “na-na-nas,” song titles that involve first names, and saxophone solos by E Street alum Clarence Clemons.
With the E Street Band, who joins Springsteen here for the first time since “The Rising,” the songs always have a certain epic nature to them-layered guitars, horn solos, keyboards, background vocals galore, etc.
Opening with one of the catchiest songs on the album, which subsequently became the obvious single, “Radio Nowhere” is a rocking little number which finds Springsteen asking “is there anybody alive out there?” This question has been an integral part of Springsteen concerts for the past decade and is a commentary on the state of rock and roll.
“Livin' In the Future” opens up with Clemons on saxophone and continues the blend of electric and acoustic guitars that has been a Springsteen staple for years and is heavily displayed throughout the album.
The first ballad on the album, “Your Own Worst Enemy” has a Beach Boys feel to it, both musically and lyrically, while “Girls in Their Summer Clothes” is an almost perfect acoustic number.
The title track is short, and to the point and manages to gracefully weave a mandolin into the mix, which begs the question, is there any instrument that The E Street Band does not incorporate?
“Terry’s Song” ends the album, a sparse song that would not have felt out of place on “Nebraska.”
Springsteen was never gone in the typical “my god, when was his last good album?” type of way. But “Magic” contains that classic Springsteen charm that has not been as prevalent on some of his recent albums. "Magic" is a highly recommended album by one of rock’s truly decent people.
> Comments